Page 8 - A Dual Reality

As an irony of fate, the stubborn, disobedientstudent - Nguyen Trong Minh who used to be subject to disciplinary
punishment, when grown up, did pursue the path of becoming a teacher. But his colorful hopes of replacing the
educational limitations which he once experienced, soon ended after 3 years working as an art teacher at a junior
high school. The pragmatic approach of considering arts as just an elective, “just for the formality” subject, is a
serious educational error in the effort of cultivating up young souls, which could appreciate good values of humanity.
Such unveiled reality doubled up with the frustration rooted in his hidden childhood memories paved the way for the
artistic life of Nguyen Trong Minh. It is naturally uncommon, but compatible with the course towards critical realism,
which is nowadays rarely trotted by very few artists..
The bold and blackened streaks dash through the portraits like a punishment? A nonconformity marked for
outcasting? A indelible dark memory? Or an inexpressible torment?

Is the various multiplication of a single image with indistinct personality and without any sign of emotion an implication
of the educational method to reach for a target number, under the pressure of the so-call achievement? Is imposing
and molding a series of future individuals the correct education method that we now follow?

The art of Nguyen Trong Minh often poses questions, in his unique combination of parody and expressions towards
a distinctive critical realist style of his own.

All faces were expressionless, but taking an upclose look at the forms in Minh’s works, one sees an effective
depiction of a distressed psychological state through figurative postures. The orderly, fit and neat composition of
human figures just like the racked balls before the break shot of a Billiard game has been combined with the totally
subdued to almost the basic tone of gray, black and white hues on a flat and smooth surface. This combination
has well served the author’s intention of pushing the contrast between still forms and the streaky drabs with moody
torments to express an objective critical content.

In contrary to Minh’s characteristic criticism, which is readily recognizable in his paintings of educational theme, his
depiction of young girls, Viet and Muong women alike has an unpredictably mysterious aura, despite of a similar
technique. All of his woman characters are cloned in traditional costumes of Viet and Muong ethnic groups. They
appear as enchanted by an illusory source of light, but simultaneously devout as in a religious rite or somehow
remotely remorseful with a worldly incompletion.

Recently become a professional artist after a few exhibitions of various scales, his works engage with some definite
themes though most of them carry the traits of a critical realism style mixed with Pop art and Expressionism. But it
is his personal life and insightful experiences with the issues of contemporary education that make Nguyen Trong
Minh’s creativity truly unique and promising works of art.

Translated by Do Tuong Linh